(Lloyds Weekly Newspaper [London, UK], 28th July, 1895)
MISS PHYLLIS BROUGHTON

The popular young actress, Miss Phyllis Broughton, has been heartily welcomed again at her old place in the Prince of Wales' theatre, where as Mrs. Ralli Carr, in "Gentleman Joe," with Mr. Arthur Roberts, she is once more seen at her best in the new songs and dances lately introduced. When two comedians who have been accustomed to act together meet after long separation, the effect is noticeable that they play into each other's hands with additional brightness and with a mutual sympathy that causes the piece to run with extra zest. Previous to her present performance, it will be remembered that Miss Phyllis Broughton fulfilled a long engagement in the famous "Gaiety Girl" - a play that ran merrily several hundred nights - after which a severe illness obliged the young actress to rest for a season to recruit her health. Her career has-been hitherto almost exclusively at the Prince of Wales', the Avenue, and the Gaiety theatres.

The love of dancing was born in her. As soon as she could run alone she would dance in perfect time to any piano or barrel organ she heard from her nursery window. It was when "only a tiny mite" that the young player made her first bow to the public in a ballet, attired as a snowball in little white, swansdowny skirts. From that day to this she has been constantly on the boards. She studied elocution - in "Macbeth," "Juliet," and other Shaksperian characters - under Mr. Villiers, of whom she speaks with gratitude and affection. Later the two families became connected by the marriage of his son to her sister, Emma Broughton. By and by Mr. Villiers suggested that his pupil "wanted deportment," and this led to her going to a dancing master, M. Dewinne, under whose tuition she improved so rapidly that she was soon engaged at the Gaiety, where she had only four lines to speak and a solo dance. "And, oh! how terrified I was!" she says, with a little shiver at the remembrance; "my knees knocked together, but I get more and more nervous with each new part."

At the Gaiety she remained for five years, taking Miss Kate Vaughan's roles, and there she made her name and established her reputation firmly in the eyes of the public. "It was real hard work, though delightful!" says the actress, reflectively. "Two hours with a governess in the morning, for my mother would not allow any neglect of my education, three hours practising dancing in the afternoon, and the theatre at night!" But Phyllis Broughton reaps her reward in the long engagements she gets, and in the warmth of her receptions. She is a rapid study, but thinks out her lines and "points" with much precision, and, whilst at private rehearsal in her own room, little bits of "business" suggest themselves, which at real rehearsal invariably come off all right.

When the Carl Rosa company opened at the Prince of Wales' theatre Phyllis Broughton was offered a three years' engagement in "Paul Jones," "Marjorie," and "Captain Therese," in parts with "a little singing, more acting, and most dancing." "I havn't much of a voice," she remarks, frankly, "but I am content and thankful if it carries me through." The voice, however, "carried her through" successfully enough as Cicely in "Marjorie," for it will be well remembered that the duet in which she and Mr. Hayden Coffin sang used to be encored five times nightly. Then, as she comically expresses it, she was "sublet" by the Carl Rosa company to Mr. George Edwardes at the Opera Comique to play in "Joan of Arc,"Blue-Eyed Susan," &c.; thence to the Prince of Wales' for "In Town," which was subsequently transferred to the Gaiety, and ran over a year. Three different companies were at one time or another in that play, but at its conclusion Miss Broughton was the only one of the original members left.

The portrait represents her in 'La Mascotts.' "But the cat," she observes, quaintly, "got sick of being so much photographed, and expired soon after." In common with all young players Phyllis Broughton has had her experiences in the form of curious letters and little unrehearsed effects. Of the former her mother takes possession, as she says, " Phyllis is so careless, and always tears up everything, and I keep them as curiosities." They are indeed "curiosities." Here is one from a stranger in New Zealand, beginning "Respected miss," and asking her in all good faith to go out and marry him, but begs her if she has other views "to suggest a friend or relation instead." He explains his own qualifications and those required in a wife. "They" must be this, "they" must have that, and so on. He encloses his photograph, but acknowledges it was taken "before he had time to wash or do his hair." She is to send "them" out, or, indeed, he gallantly offers "to go home and fetch them." Another is one of a series of registered letters from a religious maniac - who went nightly to the pit to see her- and each encloses drawings of coffins, cross-bones, and skulls, warns her repeatedly of the "sin of the stage" and names a certain Thursday which is to be her last on earth. But this was too much, and Miss Broughton was so terrified that her-step-father, General Hutchinson, had to interfere through the police, and the nuisance was stopped. Her mother has a tiny story too to tell. She sent her child's [hotograph surreptitiously in answer to Pear's advertisement for a "Beuty Competition." Much to their surprise, the prize of twenty-five guineas was awarded to her. "The only money ever given me," says Miss Broughton, that I did not work to earn."

Brief as has yet been her career the young player has contrived to put a good deal of successful work into it. She has made her mark early in life. In the home circle her bright and happy nature causes her to be the "life and soul of the house." "She is a good daughter," says her mother, and a good sister, and has never given me any anxiety."

HELEN C. BLACK.

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